“Hot work: processes where metals are plastically deformed above their recrystallization temperature, allowing the material to recrystallize during deformation.”
“[T]here is no more epic way of bringing down much loved or even much hated tree (for example a neighbor’s overgrown maple) than with an American felling ax.”
This is the third time I’ve sharpened this axehead. The process involves using a file to shape the bit (cutting edge) to form a convex bevel on both faces. This bevel is then ground and polished with progressively finer-graded stones. Apparently, you should be able to shave with it once it’s done. I’ve spent roughly six hours filing, grinding, polishing and repeating so far in search of the ideal edge. In between stages I scour the Internet for logs.
The axe has been rendered romantic by the chainsaw. There are few instances when one wouldn’t use a chainsaw to harvest and process timber. They’re fucking brilliant. I borrowed mine off my dad and neglected to ever return it. It races through timber with a full-throated, sawdust-frothing snarl. I like people to know I own a chainsaw. I like them to see it in my studio or in my car. It makes me feel dangerous.
The axe will make me feel like a man, however.
Taking inspiration from both historical and fictitious female characters Heinz is interested in how the female body can act as a visual vessel or a conduit in contemporary societies, often reflecting current tastes and political values. Her work aims to question this with tongue firmly in cheek. The use of latex as a substitute for skin means Heinz’s sculptural forms are often visually grotesque, lumpy and flaccid. The melding of human and animal forms is an essential component of her work, often providing humour or absurdity but also speaking to greater ideas of ‘femininity’ and role-playing.
pages coming soon… sorry.
Following Nina’s death, the building came under review by the NSW Government as a result of complaints made by the subsequent tenants. On evaluation of the premises, the Department of Planning reported abnormal activity on site and requested assistance from the Australian Secret Intelligence Organisation (ASIO). Their paranormal investigative unit concluded that a poltergeist had taken possession of the lot. Several attempts were made to channel the specter for intelligence purposes, all of which failed and resulted in twelve unexplained deaths.
Founded and directed by artist Iakovos Amperidis, the space opened on April 7th 2011. In 2012 it was co-directed with artist Leah McPherson, and between 2013-2014 with curator/writer Eleanor Ivory Weber. Since 2015, 55 represents eleven artists who also coordinate an open exhibition program.
Originally a single exhibition room, 55 has expanded to occupy the entire first floor of the warehouse, now housing two gallery spaces and an adjacent artist-studio complex.
55 is a leased property, and not for profit.
55 is on Cadigal land, and acknowledges the prior ownership of this area by the Cadigal people who were dispossessed by European invasion more than two hundred years ago.
Artists: Jelena Telecki / Anna John / Paul Greedy / Latai Taumoepeau / Iakovos Amperidis / Simon Yates / Luke Parker / Elise Harmsen / Del Lumanta / Nick Strike / Sach Catts
Administration: Kelly Azizi
Education: Seini Taumoepeau
Finances: Mihajlo Starcevic
Advisory Board: Judy Annear / Daniel Boyd (2017)
Acknowledgements and gratitude: Leah McPherson (2012) / Eleanor Ivory Weber (2013-2014) / Nanette Orly, Conseulo Cavaniglia, Carla Cescon, Talia Smith (2015) / Amanda Williams (2015-16) / Uri Auerbach, Biljana Jancic, Nina Knezevic, Megan Hanson, Hester Gascoigne (2014-15) / Francesca Heinz (2014) / Charlotte Hickson (2016).
Fundraiser Contributors 2011-16 (work in progress…):
Denis Beaubois, Elizabeth Pulie, Alex Kiers, Sarah Goffman, Justin Trendall, Yasmin Smith, Sumugan Sivanesan, Connie Anthes, Alex Gawronski, Kenzee Patterson, Richard Kean, Anne Ferran, Andrew Newman, Rachel Scott, Alison McGregor, Zuza Zuchowski, Clare Milledge, Emma Davidson, Leah McPherson, Emma Ramsay, Emma White, Eloise Kirk, Shane Haseman, Ian Milliss, Matthew Hopkins, Vincent O’Connor, Kenzie Larsen, Vicki Papageorgopoulos, Francesca Heinz, Koji Ryui, Ella Rose Barclay, Nick Strike, Samantha Whttingham, Gianni Wise, Jesse Hogan, Steven Pennington, Phil Aston Williams, Samuel Bruce, Karena Keys, Sach Catts, Scott Donovan, Ernest Aaron, Daniel Green, Ruark Lewis, Sean Kerr, Philipa Veitch, Emily Hasselhoof, Mathys Gerber, Hany Armanious, Daniel Boyd, Mark Brown, Bonita Bub, Carla Cescon, Sarah Contos, Mikala Dwyer, Marya Elimelakh, et al., Jan Fieldsend, Paul Greedy, David Haines, Emily Hunt, Biljana Jancic, Anna John, Anna Kristensen, Ruark Lewis, Ollie McKenzie, Michael Moran, Ms&Mr, JD Reforma, Marilyn Schneider, Rachel Scott, Keg De Souza, Teo Treloar, Marian Tubbs, what, Andrew Hurle, Simon Yates, Jelena Telecki-Starcevic, Anna John, Justene Williams, Mike Parr, Mitch Cairns, Mitchel Cumming, Brendan Van Hek, Consuelo Cavaniglia, Jack Langan Dunbar, Ali Noble, Stephen Ralph, Sarah Newall, Zoe Robertson, Nicola Smith, Tony Albert, Neil Beedie, Anna Kristensen, Bianca Hester, Agatha Gothe-Snape, Anna McMahon, Ben Denham , Ben Terakes, Brian Fuata, Cybele Cox, Elise Harmsen, Kate Beckingham, Luke Parker, Lynne Barwick, Michelle Hanlin, Patrick Head, Robert Pulie, Sean O’Connell, Tim Schultz, Vicky Browne, what
Thanks to everyone who’s put down cash on our fundraisers and crowdfunding over the years.
Many thanks to the Australia Council for the Arts, its arts funding and advisory body for assisting us between May 2016 – May 2017.
All printing done via Yudi Gani @ UDJ Print and Design